--- W A X W E B --- { 1:54 / 1:25:00 } --- { Cinema : The Gate } ---

Cinema : The Gate

In early 1914, a Spiritualist cinematographer from the Supernormal Picture Society of London joined the Royal Expedition to the Antarctic.

	The side of the projector. At the beginning of cinema, many people were more interested in the operation of the projector than they were with the image on the screen (presumably, the initial shock of motion wore off after the second show). In Japan, for instance, itinerant projectionists would set up the projector in front of the audience, pointing to a side wall. This gave the viewers a clear view of the entire projection process. Here, we are fortunate to be part of such a show, and so can witness the mysterious Newtonian center of the motion picture apparatus; the mechanical conversion of continuous rotary energy into moments of sudden stillness is here given an visible sign. The temporary stasis of the moving picture is interrupted 24 times in a second with sudden arc motions, that slide a new piece of the same, complete picture into the gate. Light shines through the gate, enters the world, and is sent directly into our eye, to the black box behind.

1:54

Hive-Maker and Ghosts:

Through the lens of a projector, we enter a film.

The year is 1914, and James Hive-Maker, a Spiritualist Cinematographer, has traveled to the Antarctic in order to gather images of the dead. The next year, he travels to the Battle of Ypres, where he finds them floating above clouds of poison gas.

Hive-Maker search is motivated by a belief that the Dead live near to us, illuminated by a moral decay similar to the glow of a radium watch. This light, and their Land, can be made photographically visible. By extension, Hive-Maker hypothesizes that these living lights can visit our world (and that in reverse, we can visit their world).